Stanislav Libenský began his study of glass in 1937 at the Specialized School of Glassmaking in Nový Bor, Czechoslovakia, a region encompassing the Czech-German border called the Sudetenland.

When the German army occupied the Sudetenland in 1938, Libenský moved first to the school at Železný Brod, and later to Prague Academy of Arts, Architecture and Design (VŠUP), from which he graduated in 1944.

His first notable series in glass, created in Nový Bor between 1945 and 1948, were thin crystal vessels, delicately etched and enameled with themes from the Bible and Renaissance art.

[1] In 1948 Libenský returned to VŠUP, where he studied under Josef Kaplický, a painter, sculptor and architect who headed the school of painting on glass.

Through his dynamic teaching style and modernist ideas, Kaplický had a tremendous influence on his students and thus on the independence of glass as an art form in Czechoslovakia.

[4] The couple began their long collaboration in 1954,[3] when Brychtová created a sculptural glass bowl modeled after a sketch of a bowl-shaped head that Libenský had made.

[8] In developing the negative modeling technique employed in "Animal Reliefs", Brychtová and Libenský created the foundation on which the majority of their later sculptural work was based.

Notable students of Professor Libenský include František Janák, Marian Karel, Ivana Mašitová, Yan Zoritchak (Ján Zoričák),[10] and Alena Bílková.

[11] Much of Libenský and Brychtová's architectural work was done for buildings in Czechoslovakia, including two windows, created for the St. Wenceslas Chapel in Prague's St. Vitus Cathedral.

To relate the new to the old, Libenský and Brychtová used the muted grey-brown, grey-green and pink hues in the chapel's frescoes as the predominant colors in their windows.